logo
Pixie Lott pregnant with second child

Pixie Lott pregnant with second child

Yahoo5 days ago

Pixie Lott has announced she is pregnant with her second child.
The 34-year-old singer has been in a relationship with model Oliver Cheshire, 36, since 2010 and they married in 2022.
The couple are already parents to a one-year-old son named Albert - and he will soon have a sibling to play with.
Taking to the stage at London's Mighty Hoopla festival on Sunday, Lott told the crowd, per the Daily Mail, "I'm having another baby!"
The All About Tonight singer's public announcement stands in contrast to her first pregnancy, which she did not reveal until she was 31 weeks pregnant.
She and Cheshire shared the news back in June 2023, with a photo shared via Instagram that showed him kissing her blossoming baby bump.
They wrote at the time, "We are beyond excited to announce we are expecting our first child together and cannot wait to start a family of our own."
Since welcoming baby Albert in September 2023, Lott has shared adorable photographs and video clips of her son via social media.
Sharing snaps of them at a fashion event together in the summer of 2024, Lott wrote on Instagram, "One of the things I love about being a mama is being able to involve Albert in all the adventures, so it's been great bringing Bertie along to his first LFW.
"Juggling it all is a challenge but super fun and being busy is just how I like it! Balancing everything is no mean feat but making sure that Bertie's needs are met will always take top priority every time and I'm so grateful to have him share these mems."

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

New Balance 991v2 Surfaces in "Celestial Blue"
New Balance 991v2 Surfaces in "Celestial Blue"

Hypebeast

time2 hours ago

  • Hypebeast

New Balance 991v2 Surfaces in "Celestial Blue"

Name:New Balance 991v2 'Celestial Blue'Colorway:Celestial Blue/Faded Denim-Moon MistSKU:U991BV2Retail Price:$250 USDRelease Date:June 19, 2025Where to Buy:New Balance TheNew Balance 991v2'Celestial Blue' arrives as a part of the Made in UK line for the summer. Taking on a soothing color palette, the upper primarily features a celestial blue hairy suede, giving it a soft, cloud-like aesthetic. This is complemented by breathable mesh underlays and contrasting grey leather overlays, creating a harmonious blend of textures and tones. Crafted in New Balance's Flimby factory in the UK, the shoe boasts superior quality. It features a full-length FuelCell midsole for enhanced propulsion and a bouncier feel, alongside ENCAP midsole cushioning and semi-translucent ABZORB SBS pods for superior impact absorption. Creamy off-white laces and midsole details add a vintage-inspired flair, while reflective 'N' logos and embroidered 'v2' tongue branding maintain classic New Balance touches.

This Maverick British Chef Is Rewriting The Rules Of Fine Dining
This Maverick British Chef Is Rewriting The Rules Of Fine Dining

Forbes

time2 hours ago

  • Forbes

This Maverick British Chef Is Rewriting The Rules Of Fine Dining

Chef Gareth Ward (left) and a colleague at Ynyshir Gareth Ward believes fine dining should be fun. 'You're on a night out, for f*ck's sake,' says the iconoclastic British chef. 'Stop taking yourself so seriously. Let your hair down, kick your shoes off, enjoy the music. Eat some food, drink some wine, and just take 12 hours of your life out…. 'Loosen your shoulders, do some breathing. Don't be so angry. You know what I mean? It's just like, What's the point? Don't come. It's all about going out. It's all about having fun.' That's why a DJ booth has pride of place in the dining room at Ward's remote restaurant-with-rooms, Ynyshir, at the edge of Wales' Snowdonia National Park. It sits between the open kitchen and the handful of tables where diners sit side by side, schoolroom-style, to ensure that everyone has a view of the show on both stages. Bookshelves lined with vintage vinyl hang kitty-corner to racks of cooking implements in the kitchen. To be sure, the soundtrack helps Ward through service—'I can't really work without music,' he says—and it works as a drumbeat for the highly efficient servers as they present and clear the impressive 30 plates that make up a dinner at Ynyshir, an experience that takes about five hours. But it's also part of the gastronomic immersion that Ward has dreamed up. Diners at Ynyshir have pre-dinner drinks in the lounge That's why Iggy Pop's 'The Passenger' and Bronski Beat's 'Small Town Boy' are listed as 'bonus tracks' on the fashionably cryptic printed menus that guests receive at the end of the evening. They're played as the final desserts are served. The lights go down and the disco ball gets fired up, cartwheeling mirrored light around the room. 'If you get the right crowd, it's absolutely buzzing,' says the chef, throwing in an expletive or two. 'You get people dancing, you get people partying, letting their hair down.' It's an unusual way to describe a restaurant that holds two Michelin stars (the only one in Wales with such a distinction), but then, Ynyshir is a highly unusual restaurant. Since 2013, Ward has been relentlessly committed to innovation, bold flavors, meticulous craftsmanship and the very best versions of whatever ingredient he decides to serve. (And note that you will eat whatever ingredient he decides to serve: Ynyshir is an all-in experience, with no substitutions allowed.) Or as he describes it, it's things he wants to eat. And he doesn't mess around with anything less than the best. 'We don't take ourselves seriously at all,' he clarifies. 'But we take what we do very seriously.' That means quality-obsessed international sourcing, carefully controlled aging in a state-of-the-art salt chamber, and an unfailing determination to be unique. A slice of hamachi sashimi with wasabi Ynyshir was named the Best Restaurant in the UK in 2022 and 2023, and now it's attracting diners from further afield. Ward says he recently welcomed a Canadian couple. 'They'd flown from Canada to London. They'd hired a car, driven to this restaurant, had dinner, stayed over, driven back to London, got on the plane and gone back to Canada. I was blown away. I was almost in tears when they told me,' he recalls. 'I was like, You kidding me? That's f*cking stupid, you know what I mean? And they were like, No, we wanted to come to this restaurant for so long. All of our friends want to come. We wanted to be the first to do it.' Ward recognizes this both as an honor and as a responsibility—and as even more of an imperative to be unlike anything else in the world. 'I don't watch what anybody else is doing,' says Ward. 'I'm not interested. Not that anybody's not—there are some unbelievable restaurants and chefs out there—but I don't really want to be influenced by them. I want everything that comes out of this building to come from within this building. 'I think you can go to a lot of restaurants at the moment and have the same meal. There's nothing wrong with that if that's what they want to do. But I don't want to do that. I love going to a restaurant and being blown away by something different,' he continues. An unrolled handroll of bluefin tuna with preserved black truffle 'The amount of restaurants that are doing the Parker House rolls and the little tarts—you have four of these little tarts before the meal, and it's the same. It's just the same thing. I went to London a few months ago and I went to two restaurants on two nights, and I had exactly the same dish at both restaurants. I went, I spent a lot of money coming here; I don't want to eat that twice. I want a different experience, and that's what I try not to do here.' Unsurprisingly, he has little patience for trends like foraging and sustainability orthodoxy. His fish and A5 wagyu beef are flown in from Tokyo, his truffles come from Western Australia, and shelves behind the counter at the entrance—where he slices some of the hamachi, madai and Balfegó bluefin tuna that will begin the menu—display a global collection of condiments. There's Picual olive oil from Spain, Red Boat fish sauce from Vietnam and S&B curry powder in a red tin from Japan. 'If it's local, I want to use it, obviously. But if it's not, I'll go elsewhere,' he says, noting that his milk and shellfish come from quite close by. 'People go on about sustainability and stuff and local. Well, it's a great story, isn't it? Drawing a ring around your restaurant and saying, I'm not using anything outside of that? It's an unbelievable story. But if it's sh*t, what's the point? You're just lying to yourself and everybody else, and you're robbing people.' He continues, 'So if the lamb isn't amazing around here, I'll get the lamb elsewhere'—mostly Scotland and another region of Wales. 'Some of the local stuff around here, it's just not good enough. Just because there's sheep in my fields doesn't mean I'm going to use them.' A bedroom at Ynyshir His respect for ingredients extends to storing, preserving and cooking them. Often, that means a willingness to do the minimum and let the products shine on their own. The first quarter of the menu is raw or nearly so (and heavily inspired by Ward's many trips to Japan): sashimi slivers of that madai, hamachi and bluefin are enlivened with white soy, tama miso or simple fresh wasabi. From there, the menu moves around Southeast Asia, starting with fish and seafood—local shrimp with green curry, local lobster with nham jim—and then moving on to birds and meat. In keeping with his vision, Ward doesn't shy away from strong flavors. The Singapore-style chili crab is properly spicy, and the bird larb is even more so. He comes back to Wales for the desserts, going heavy on the local dairy products, as in the cream in the custard that's served with a Pricia apricot, in the tiramusi that's laced with Ethiopian coffee and in the milk that's paired with mango and passionfruit. And one of the ingredients he's most proud of is his hyperlocal birch syrup, which is collected from trees on the estate. He serves it over banana ice cream and N25 Kaluga caviar. Snowdonia is also heavily present in the dining room. Local sheepskins cover the chairs, the ceramics are made down the road, and much of the furniture was made onsite. Ward notes proudly that Ynyshir is perhaps the only restaurant in the world to employ a full-time blacksmith—instrumental not only in restoring the old manor house that became the restaurant but in maintaining its many handmade details. The rooms upstairs, in the nearby garden house or in the smattering of tepees on the grounds are filled with the same attention to detail and spirit of serious unseriousness. Ward's fun nights out don't end with the last petits fours, and neither do Ynyshir's lasting impressions.

The Kinetic Force of Art World Couple Niki de Saint Phalle and Jean Tinguely Comes to Life in Somerset
The Kinetic Force of Art World Couple Niki de Saint Phalle and Jean Tinguely Comes to Life in Somerset

Vogue

time2 hours ago

  • Vogue

The Kinetic Force of Art World Couple Niki de Saint Phalle and Jean Tinguely Comes to Life in Somerset

We considered Hauser & Wirth in Menorca, but the team insisted on Somerset—somewhere I had never been! But I trusted the professionals. When I arrived, I was shocked at how on point it was. Jean and Niki moved out of the city early on and worked in barns. They loved the rural life. It felt very beautifully British, but also meant to be. Jean Tinguely, La Grande Tête (The Big Head), 1988. Photo: Ken Adlard, courtesy of Niki Charitable Art Foundation and Hauser & Wirth Photo: Ken Adlard, courtesy of the artists and Hauser & Wirth I had such a visceral reaction to seeing the exhibition. The gorgeous gardens, the curation. You start with Tinguely's moving kinetic machines, then you move to Niki's stark and solemn shooting pictures, then you look out the window and see the Nana sculptures in the gardens. I think it's beautifully curated. I'm thankful this is happening right now, before the big exhibition in Paris, where we see Tinguely, Niki, Pontus Hultén…all artistic friends. Then we're opening an exhibition for Jean's centennial in Geneva. You see the real scope of both of their work. In Somerset, we have their very intimate correspondence on display. You see their love, humor, and generosity. In the Somerset gardens, they get the fountains on and children run through the water with the Nanas. I was fortunate enough to be a kid around Niki and Jean, so I truly got to understand the magic of their work. I think it's wonderful to get people young to understand art, and see that art is a part of life. How did you even begin to distill the scope of their work? For Niki in particular—from the shooting paintings to the Nanas—the range in form and storytelling is so vast. I think it's really always important to tell stories, or at least to create a path so that people can create their own stories. We show all these different creative languages that they used both together and separately—from imagery to cinema, to moving machines, and the fountain. I think it's wonderful to blur the boundaries between public and private art in this exhibition, and that's actually very rare. And while this show is so much about joy and humor and providing a bit of a solace from the darkness of the world, the heavy subjects are there—but in a poetic way. Installation view. Photo: Ken Adlard, courtesy of the artists and Hauser & Wirth Photo: Courtesy Hauser & With and the artists I think that's the beauty of their work: there are converging and contradicting ideas. I love that you can see how intensely they collaborated, but also the real delineations between them. You would maybe think, as a couple, that they would have mirrored each other more. Instead, they have a singular sense of artistic identity.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store